Available to purchase on the UB website now is a digitally sculpted series by Seoul-based digital artist, Lee Sol. His Renaissance-inspired Instagram account (@venusmansion) has been brought to life for UB as a series of (fairly reasonably priced) 3D-printed resin David and Venus di Milo busts. The busts are the first physical rendering of Lee’s totally social media-based concept.

UB has created a limited-edition series in collaboration with Copenhagen multidisciplinary studio, Wang & Söderström. Titled Excavation, the collection includes a set of 3D-printed resin vases, flecked with almost fossilized layers of colour.

A New York-based outfit called Unique Board (UB) is broadening the definition of the humble, more affordable art print. They may even be making it pretty damn cool too. The company collaborates with artists to create limited edition 3D-printed sculptures: reinterpretations of historic art (the statue of David), as well as altogether new, digitally devised pieces.

It’s a mostly Instagram-led initiative, picking up on artists and creatives who use Instagram as a canvas. “UB always carefully look for new inspiring artists and creatives mainly via Instagram to collaborate with and challenge their boundary to bring newer, bolder ideas to life,” explains UB founder Dan Kim.

Available to purchase on the UB website now is a digitally sculpted series by Seoul-based digital artist, Lee Sol. His Renaissance-inspired Instagram account (@venusmansion) has been brought to life for UB as a series of (fairly reasonably priced) 3D-printed resin David and Venus di Milo busts. Called Venus, the collection has been created in Lee’s signature candy-coloured tones. The busts are the first physical rendering of Lee’s totally social media-based concept.

Also on the site is a series created in collaboration with Copenhagen multidisciplinary studio, Wang & Söderström. Titled Excavation, the collection includes a set of 3D-printed resin vases, flecked with almost fossilized layers of colour. It’s meant to reveal the unmistakable humanness in digital processes.

]]>http://www.yellowtrace.com.au/limited-edition-3d-printed-sculptures-ub-instagram-artists/feed/1http://www.yellowtrace.com.au/limited-edition-3d-printed-sculptures-ub-instagram-artists/Stage of Forest: Ski Pavilion at Songhua Lake Resort of Jilin, China by META-Project.http://feedproxy.google.com/~r/yellowtraceblog/~3/698aVfyAw5A/
http://www.yellowtrace.com.au/ski-pavilion-songhua-lake-resort-china-meta-project/#commentsWed, 21 Feb 2018 07:00:26 +0000http://www.yellowtrace.com.au/?p=100692Designed by Beijing-based META-Project, this mountainside structure looks like a villain’s secluded lair in a James Bond film. Its purpose in reality, however, is a lot less foreboding.

Peering over the icy Songhua Lake from a distance, the monolithic building is an open ski pavilion, offering a little respite from the Chinese slopes to skiers visiting the nearby resort.

Positioned at the top of a steep slope and the edge of a dense forest, this ski pavilion is totally submerged in the natural environment and its dramatic elements: overwhelming white snow in winter, and lush woodlands in warmer months.

While it is certainly spectacular at a distance, material details make a closer viewing almost equally as enchanting. Made up of a heavy concrete base and an upper platform that acts as a ‘stage’, the building’s exterior is clad in thatched Shou-Sugi-Ban charred cedar.

An open oval skylight cuts through the red cedar roof—allowing both sunlight and snowflakes to float in. A second oval cutting in the floor of the platform has a glass pane but allows a clear view of the snowy slope below.

Designed by Beijing-based META-Project, this mountainside structure looks like a villain’s secluded lair in a James Bond film. Its purpose in reality, however, is a lot less foreboding.

Peering over the icy Songhua Lake from a distance, the monolithic building is an open ski pavilion, offering a little respite from the Chinese slopes to skiers visiting the nearby resort.

Positioned at the top of a steep slope and the edge of a dense forest, the pavilion is totally submerged in the natural environment and its dramatic elements: overwhelming white snow in winter, and lush woodlands in warmer months.

While it is certainly spectacular at a distance, material details make a closer viewing almost equally as enchanting. Made up of a heavy concrete base and an upper platform that acts as a ‘stage’, the building’s exterior is clad in thatched Shou-Sugi-Ban charred cedar. To offset the timber, the concrete base also carries a wood-like texture.

Inside, an open oval skylight cuts through the red cedar roof—allowing both sunlight and snowflakes to float in. A second oval cutting in the floor of the platform has a glass pane but allows a clear view of the snowy slope below. For META-Project, it seems the idea of inside-outside architecture, or designing in nature, is about opening out new connections with the environment.

]]>http://www.yellowtrace.com.au/ski-pavilion-songhua-lake-resort-china-meta-project/feed/1http://www.yellowtrace.com.au/ski-pavilion-songhua-lake-resort-china-meta-project/FRAME Greene Street Store in NYC’s Soho by Christian Halleröd.http://feedproxy.google.com/~r/yellowtraceblog/~3/M6DTuH1A5WM/
http://www.yellowtrace.com.au/frame-greene-street-nyc-christian-hallerod/#respondTue, 20 Feb 2018 18:30:01 +0000http://www.yellowtrace.com.au/?p=100683Stockholm based designer Christian Halleröd is just one of those annoyingly talented people who seems to nail it every single time. His interiors are the epitome of effortless cool – the kind of spaces that are deliberately left to breathe, appear nonchalantly raw, and employ seemingly simple construction techniques, restrained colour palettes, highly edited pieces of furniture and lighting that seems to be pulled together in that nothing-matches-like-we-almost-don’t-care-but-everything-is-clearly-so-well-considered type fashion.

Halleröd’s latest retail project is FRAME in NYC, located in a typical Soho space that’s quite narrow and very deep, with a skylight at the back of the store. In the designer’s signature style, the interior is the definition of effortless hotness and dramatic minimalist style that packs a punch.

“I wanted to keep the ‘shell’ as clean as possible, but still soft with light plastered matte walls and a matt stone floor, slightly hammered in a similar texture as the walls,” said Halleröd.

“In this rather minimal but soft space I've placed a collection of more sculptural objects in different shapes, textures and materials,” said Halleröd. Every element has its own character but they all work together.

Oversized lightboxes are a key design element that’s a continuation of Halleröd’s concept from previous Frame stores. But this time the idea was taken to a new level. It’s large dimensions, coupled with frameless design and continuous LED light strips create an overall effect more akin to an art installation than a classic lightbox. So good, it’s almost not fair.

Stockholm based designer Christian Halleröd is just one of those annoyingly talented people who seems to nail it every single time. His interiors are the epitome of effortless cool – the kind of spaces that are deliberately left to breathe, appear nonchalantly raw, and employ seemingly simple construction techniques, restrained colour palettes, highly edited pieces of furniture and lighting that seems to be pulled together in that nothing-matches-like-we-almost-don’t-care-but-everything-is-clearly-so-well-considered type fashion.

Halleröd’s latest retail project is FRAME in NYC, located in a typical Soho space that’s quite narrow and very deep, with a skylight at the back of the store. In the designer’s signature style, the interior is the definition of effortless hotness and dramatic minimalist style that packs a punch.

“I wanted to keep the ‘shell’ as clean as possible, but still soft with light plastered matte walls and a matt stone floor, slightly hammered in a similar texture as the walls,” shared Halleröd with Yellowtrace (umm, yeah, that’s totally us).

The narrower entrance area opens up into a bigger ‘courtyard’ in the centre of the floorplan, culminating in a more intimate area at the back underneath the skylight.

“In this rather minimal but soft space I’ve placed a collection of more sculptural objects in different shapes, textures and materials,” said Halleröd. Every element has its own character but they all work together.

At the front of the store is a very long and slim organically shaped table in raw aluminium, supported by extremely thin legs. The table sits on a hand-knotted thick jute carpet which provides one of the very few deliberate accents of colour in the space. On one side of the table is a special denim room, featuring a bold shelf in high gloss blue with oversized proportions.

Further within the space are two large black polished marble tables supported on thick conically shaped legs, resting on top of another thick hand-knotted jute carpet in a soft yellow. Next in line is the point-of-sale desk wrapped in American walnut.

Along the walls of the store are long sections of minimalist clothing rails mixed with oversized mirrors and giant lightboxes. The lightbox is a key design element that’s a continuation of Halleröd’s concept from previous Frame stores. But this time the lightbox idea was taken to a new level. It’s large dimensions, coupled with frameless design and continuous LED light strips create an overall effect more akin to an art installation than a classic lightbox.

]]>http://www.yellowtrace.com.au/frame-greene-street-nyc-christian-hallerod/feed/0http://www.yellowtrace.com.au/frame-greene-street-nyc-christian-hallerod/Sky Club House by DOMANI is the Fanciest Gym Ever.http://feedproxy.google.com/~r/yellowtraceblog/~3/ib_EjE-0ahw/
http://www.yellowtrace.com.au/sky-club-house-domani-fanciest-gym-ever/#commentsMon, 19 Feb 2018 18:30:17 +0000http://www.yellowtrace.com.au/?p=100632Gyms, fitness clubs, and yoga studios were once architectural wastelands. Now though, so many are being created with design as a defining element. A fresh example of the new-age luxury, supremely stylish health centre is the new Sky Club House by Chinese firm DOMANI.

Located in China’s Guangdong Province, Sky Club is more than just a few rows of treadmills and Stairmasters in a blanched room. It’s pitched as a luxury private club and looks like more of a minimalist temple than a place to burn calories after work.

At Sky Club House by Chinese firm DOMANI, wide windows are cut into the façade, and inside, walls are panelled in warm timber, which prevents the minimalism becoming a bit too austere and inhuman.

The receptions space of Sky Club House is—like a luxury hotel—a little dramatic, and quietly breathtaking. An enormous marble staircase made of precisely cut slabs leads on to the second floor, and a glass bar hovers in the centre of the room.

Gyms, fitness clubs, and yoga studios were once architectural wastelands. You know—sweaty carpet, garish fluorescents, mirrors in terrifying places. Now though, so many are being created with design as a defining element. In Sydney and Melbourne are the Humming Puppy holistic yoga studios by Karen Abernathy, in Paris there is Lets Ride by DAS Studio, and in the States, the historic Los Angeles Athletic Club (side note, squash is cool again, everyone). There are plenty that fit the bill: fitness culture is booming, and so is the lifestyle and look that surrounds it.

A fresh example of the luxury, supremely stylish health centre is Sky Club House by Chinese firm DOMANI. Located in China’s Guangdong Province, the centre is more than just a few rows of treadmills and Stairmasters in a blanched room, it’s pitched as a luxury private club and looks like more of a minimalist temple than a place to burn calories after work.

Clad in white-grey textured artificial concrete tiles, and encircled by pristine midnight black reflecting pools, it has a sort of soothing presence. Wide windows are cut into the façade, and inside, walls are panelled in warm timber, which prevents the minimalism becoming a bit too austere and inhuman. A glass ceiling above exercise machines lets natural light flood in, and views of the swimming pool feature in almost every room.

The receptions space is—like a luxury hotel—a little dramatic, and quietly breathtaking. An enormous marble staircase made of precisely cut slabs leads on to the second floor, and a glass bar hovers in the centre of the room. Throughout the space, black light fixtures create sleek lines against the pale grey tile, gracefully framing the architecture.

]]>http://www.yellowtrace.com.au/sky-club-house-domani-fanciest-gym-ever/feed/1http://www.yellowtrace.com.au/sky-club-house-domani-fanciest-gym-ever/Bentwood Cafe in Fitzroy, Melbourne by Ritz&Ghougassian.http://feedproxy.google.com/~r/yellowtraceblog/~3/r2_xYcKvRms/
http://www.yellowtrace.com.au/bentwood-cafe-fitzroy-melbourne-ritzghougassian/#commentsSun, 18 Feb 2018 18:30:49 +0000http://www.yellowtrace.com.au/?p=100657Ritz&Ghougassian have shared with us their latest hospitality project, Bentwood café, set within the old Thonet showroom at 237 Napier Street in Melbourne’s Fitzroy.

Bentwood café’s interior pays homage to the old custodians of the space and the site’s historic archetype as a furniture workshop, and later as the Thonet furniture showroom.

The robust materiality of Bentwood café’s in Fitzroy was informed by the site’s existing facade and the surrounding environment.

The interior of Bentwood café reflects Fitzroy’s brutalist industrial heritage through the use of primed steel wall cladding and ceiling panels.

Ritz&Ghougassian have shared with us their latest hospitality project, Bentwood café, set within the old Thonet showroom at 237 Napier Street in Melbourne’s Fitzroy. The café’s interior pays homage to the old custodians of the space and the site’s historic archetype as a furniture workshop under the name of CF Rojo & Sons and later as the Thonet furniture showroom. The café is furnished in Thonet’s iconic pieces and beautifully detailed joinery in the perfect shade of delicious deep red. (Note to self–get your hair coloured in this exact shade for autumn. Check!)

The robust materiality of the 190-square-metre eatery was informed by the site’s existing facade and the surrounding environment. As a result, the interior reflects Fitzroy’s brutalist industrial heritage through the use of primed steel wall cladding and ceiling panels.

The space sits encased within the original heritage facade made of red pressed brickwork and old stucco. An adjacent laneway lined with brick pavers runs underfoot, whilst concrete columns rise up to a ceiling grid primed in red oxide. The ceiling grid compartmentalises the space creating pockets of light and shade, volume and intimacy. Steel cladding to the kitchen reads as an extrusion from the ceiling grid. Timber furniture echoes back to the sites past and divides the space through skeletal shelving units.

Read on for more insight into this project straight from Jean-Paul Ghougassian himself.

+ Your favourite thing about this project?

It’s really nothing about what we did, but rather the building and its story. To think about the years it spent as a workshop, craftsman young and old doing something that today is a rarity, to then be the showroom such an iconic brand ‘Thonet’ who’s furniture is synonymous with the Melbourne’s cafe culture. When you step foot inside the space you can feel the building’s heritage.

+ What was the most challenging aspect of this project?

Most definitely designing and co-ordinating the ceiling, at first the idea was seemingly simple, but we should’ve known better.

+ Would you have done anything differently?

It’s really hard to answer this question critically. Mistakes in mind are the only way we grow as designers. So, no, I wouldn’t have done anything differently.

On the corner of a historic 20th-century building, Mr. Hyde’s HQ had many former lives. From bar to motorcycle workshop, when founders of Casa Josephine begun work on a new office space, little remained of its original appearance.

Casa Josephine have created the bones of an office—but layered it with the furnishings and filters of a well-appointed home.

Colours are inspired by an 80s inclination for Mondrian’s geometric yellow, blue and red. Mustard drapery softens the space, and unstiffens the office atmosphere without being brassy like a patch of astroturf or a foosball table.

The floor pattern unites and separates various rooms, while tiled walls have been fashioned as shadowed archways—a sort of charming tromp-l’oeil.

‘Work life balance’ is a tired, problematic concept. What seems to have become the ideal these days is work and life, work as a lifestyle, and inevitably too—designing home and office as one interchangeable, relaxed and comfortable (hopefully beautiful) entity. Madrid ad agency, Mr. Hyde enlisted Spanish interiors studio Casa Josephine to push the whole lifestyle office aesthetic a notch or two further.

On the corner of a historic 20th century building, Mr. Hyde’s HQ had many former lives. From bar to motorcycle workshop, when founder of Casa Josephine Íñigo Aragón and his brother Rodrigo Aragón begun work on a new office space, little remained of its original appearance. To revive it, Íñigo and Rodrigo rescued the building’s original plans, which revealed wider windows, and now-missing walls.

Within the floor plan, Casa Josephine have created the bones of an office—but layered it with the furnishings and filters of a well-appointed home. The meeting room is flooded with soft, natural light, there’s a suite featuring an enormous maple table design by Espacio Brut, and a room for pitches and presentations.

Colours are inspired by an 80s inclination for Mondrian’s geometric yellow, blue and red. Mustard drapery softens the space, and unstiffens the office atmosphere without being brassy like a patch of astro turf or a foosball table.

Other domestic touches are peppered throughout: midcentury ceramics, plush benches, and easy lighting. The floor mosaic is playful with a touch of surrealism too. The floor pattern unites and separates various rooms, while tiled walls have been fashioned as shadowed archways—a sort of charming tromp-l’oeil.

]]>http://www.yellowtrace.com.au/casa-josephine-madrid-advertising-agency-office/feed/1http://www.yellowtrace.com.au/casa-josephine-madrid-advertising-agency-office/The Gift Hotel: Cooltown Animated Video Campaign by Six N. Five for Massimo Dutti.http://feedproxy.google.com/~r/yellowtraceblog/~3/KhSSaCEf_ME/
http://www.yellowtrace.com.au/massimo-dutti-the-gift-hotel-animated-video-campaign/#respondWed, 14 Feb 2018 18:30:25 +0000http://www.yellowtrace.com.au/?p=100482Spanish fashion house Massimo Dutti asked Six N. Five to come up with a new, non-conventional ad concept to introduce five new products and communicate their more emotive, sensory elements.

Six N. Five's The Gift Hotel is a set of five serene and stylish animated shorts, each highlighting a piece in the new Massimo Dutti collection.

This short film navigate a pastel-hued hotel lobby, and seem to be inspired by the delectable tones, textures, sounds, and symmetry of Wes Anderson’s 'The Grand Budapest Hotel'.

Six N. Five, who’s portfolio is packed with otherworldly, textural work, have created a little world we want to explore and touch. Almost better than a real in-store experience.

The brilliant thing about film is the ability to engage all the senses and to transport someone almost entirely. Furniture and fashion can appear incredible at a distance, styled and edited cleverly, but it’s become harder to elucidate their more textural and emotional appreciation from behind uninterrupted, busy digital screens—the rough of velvet, the noise of leather, the story in a new pair of shoes.

To tackle this issue, and introduce five new products and communicate their more emotive, sensory elements, Spanish fashion house (with an Italian name) Massimo Dutti asked Six N. Five to come up with a new, non-conventional ad concept.

The Barcelona-based agency returned The Gift Hotel—a set of five serene and stylish animated shorts, each highlighting a piece in the new Massimo Dutti collection. The films navigate a pastel-hued hotel lobby, and seem to be inspired by the delectable tones, textures, sounds, and symmetry of Wes Anderson’s ‘The Grand Budapest Hotel’.

Using geometry and a helping of buttery gold and charcoal black paint, Sánchez has tied two disparate and derelict apartments together as one pretty captivating two-storey home.

Set in a tired apartment block in the heart of Barcelona's El Raval, both ground and first-floor dwellings were in a state of total neglect and disrepair. Sánchez was asked to refurbish the two 55 square metre apartments—and marry them together by adding an internal staircase and new master bedroom.

It’s brilliantly simple and perfectly striking—the neat floorplan is sliced yet clearly and cleverly defined without the need for other doors or enclosures, a clever furniture layout, or carefully placed carpets.

Sánchez’s precise rotation of the cubes, the playful approach to volume, and the use of colour coding as guiding architecture answers all assumptions, but keeps the experience spirited and surprising too.

Maybe the most striking element of Raúl Sánchez’s Duplex Tibbaut in downtown Barcelona is its bold spatial definition—a trick the Spanish architect seems to enjoy. Using geometry and a helping of buttery gold and charcoal black paint, Sánchez has tied two disparate and derelict apartments together as one pretty captivating two-storey home.

Set in a tired apartment block in the heart of El Raval, an artistic quarter close to the popular tourist-jammed market on La Rambla, both ground and first-floor dwellings were in a state of total neglect and disrepair. Sánchez was asked to refurbish the two 55 square metre apartments—and marry them together by adding an internal staircase and new master bedroom.

After cutting into the first floor at an angle to create a new upper mezzanine level, two double-height golden cubes were inserted into the vaulted space, their vertices overlapping, both completely freestanding from the walled edges of the apartment. The wooden interiors of the cubes are varnished in dense black, a stark contrast to the brighter exterior shades. One cube houses the stairs to travel between floors, the other is a bed on the top floor, and bathroom and workspace on the ground level.

Materials are colour-matched to designate space even further: glass door frames and openings are either set in brass or black steel, depending on the area they access, and hinges and handles are also brass or chrome.

It’s brilliantly simple and perfectly striking—the neat floorplan is sliced yet clearly and cleverly defined without the need for other doors or enclosures, a clever furniture layout, or carefully placed carpets. Sánchez’s precise rotation of the cubes, the playful approach to volume, and the use of colour coding as guiding architecture answers all assumptions, but keeps the experience spirited and surprising too.

]]>http://www.yellowtrace.com.au/duplex-tibbaut-barcelona-spain-raul-sanchez/feed/0http://www.yellowtrace.com.au/duplex-tibbaut-barcelona-spain-raul-sanchez/Interview: Emma Templeton of Templeton Architecture.http://feedproxy.google.com/~r/yellowtraceblog/~3/0HWPDJFbXfI/
http://www.yellowtrace.com.au/emma-templeton-architecture-interview/#commentsTue, 13 Feb 2018 18:30:13 +0000http://www.yellowtrace.com.au/?p=100383I friggin love our interviews, you guys! And today is another absolute goodie, as we chat to the lovely, thoughtful and generous Emma Templeton, the principal of her eponymous practice, Templeton Architecture.

With degrees in both Architecture & Interior Design from RMIT, Emma worked for some of Australia’s most notable design practices, before establishing her own studio in 2004. As we don't often choose to speak to such established and experienced practitioners in our interviews, it's a real treat to hear and learn from someone who has been in the industry for quite a long time, but has in many ways remained under the radar, despite her exceptional talent.

With a close-knit team of four, Templeton has delivered many beautiful and highly considered residential projects, designed to heighten the human senses. Timelessness, restraint and refinement are the hallmarks of the practice - but don't be fooled by this seemingly perfect veneer and Emma Templeton's impeccably groomed appearance. This lady is "horrifically passionate" about AFL, and to make things worse – she bloody goes for Collingwood.

"So many architects that I admire seem to have known that they wanted to be an architect from birth. My own journey has been less linear, less obvious. I didn’t know any architects when I was growing up, I didn’t live in an architecturally designed house and although I was educated to appreciate design my understanding was more modest and limited. I did rip up the carpet in my bedroom when I was still in primary school and this was the beginning of my first interior design project."

"We believe that spaces can make you feel, behave and think differently. Architecture is powerful and has the potential to influence a moment and a lifetime for the occupant and the wider community."

"As a studio we are acutely conscious of the trust our clients bestow on us and take the responsibility of their asset very seriously. Architecture, and in particular residential architecture, is intensely personal, often emotional and bound by financial realities. It is an exhilarating process for the client, architect and builder but it is never without some level of stress. We understand it to be part of our role to guide our clients through this roller coaster."

"I don’t think there was one turning point (in my career); it has been commitment over a long period, a willingness to make and take any opportunities, passion, and dumb luck."

"There are many challenges facing architects and the built environment, from sustainability to the commercial realities of bespoke design. However, the ubiquity of global culture is what is disturbing me currently. Things like Instagram make design so accessible for busy lives. However, with the pervasiveness of communication technology, where everything is one click away, space can too easily be reduced to a visually seductive 2D image. It can quickly lose the specifics of history, narratives of place, the particularities of occupation and the specifics of local culture. Ultimately the experience is unsatisfying and undermines the complexity, inventiveness and imagination of the designer."

"More recently I have focused my attention on other women in the industry to guide my development as an employer and as a designer. If I could rewrite my career I would design my experience to include more female role models for their unique insights and approach to business and design solutions."

"They say that anybody that fully understands the work involved in starting your own business would never do it. The footnote to this truth is that once you are up and running you will never look back. It is a joy and a privilege to run a creative business (even the bits I’m not good at, of which there are plenty) and I am grateful even on the tough days."

"I would encourage any emerging designer to develop a strategy that allows them to set aside their natural desire for perfectionism and start producing. Listen to the feedback, self-assess, ask questions, adjust, re-focus and continue. You won’t get everything right every time but you have to be willing to keep learning."

"The toughest lesson I have learnt since starting my practice is to say no or pass on things that don’t feel right. We now allow ourselves to be selective when it comes to taking on new projects. We have created strict criteria by which we assess new projects and if the project cannot assist us in steering the office in the right direction we gracefully decline. We do this in the best interests of ourselves and also the interests of the potential clients we decline, as we know we are not the right office for the particular project."

"I have been known to quote a Russian proverb my best friend shared with me when we were studying, ‘I’m not so rich that I can afford cheap things’. My partner feels this is a convenient way to justify spending excessively, however, I know Lisa knew me better and realized that it reflected my desire for quality over quantity. I apply this philosophy to our work and my wardrobe."

I friggin love our interviews, you guys! And today is another absolute goodie, as we chat to the lovely, thoughtful and generous Emma Templeton, the principal of her eponymous practice, Templeton Architecture.

With degrees in both Architecture & Interior Design from RMIT, Emma worked for some of Australia’s most notable design practices, including the celebrated Chris Connell Design, before establishing her own studio in 2004. As we don’t often speak to such established and experienced practitioners in our interviews, it’s a real treat to hear and learn from someone who has been in the industry for quite a long time, but has in many ways remained under the radar, despite her exceptional talent.

With a close-knit team of four (Emma – Director, Sean Chambers – Associate Director, Joanna Sych – Architect and Karine Szekeres– Designer), Templeton has delivered many beautiful and highly considered residential projects, designed to heighten the human senses. Timelessness, restraint and refinement are the hallmarks of the practice – but don’t be fooled by this seemingly perfect veneer and Emma’s impeccably groomed appearance. This lady is “horrifically passionate” about AFL (dear Lord), and to make things worse – she bloody goes for Collingwood (translation for those who may not be up to speed – Collingwood = extremely uncool!)

I mean, enough said. Lucky she’s so damn talented, so we won’t hold this against her. Besides, you guys know I love nothing more than shining a spotlight on someone who is excellent and what they do, yet completely normal and perfectly imperfect. A shared quality with our roomies and supporters of our beloved Interview Column, our friends from Laminex.

+ Hello Emma, welcome to Yellowtrace and thank you for taking the time to e-chat. Could you please give us a quick introduction? When did you first decide you wanted to become an architect? And what path lead you to start your business?

Thank you for inviting me!

So many architects that I admire seem to have known that they wanted to be an architect from birth. My own journey has been less linear, less obvious.

I didn’t know any architects when I was growing up, I didn’t live in an architecturally designed house (nor do I remember visiting one) and although I was educated to appreciate design my understanding was more modest and limited.

I did rip up the carpet in my bedroom when I was still in primary school and this was the beginning of my first interior design project. I changed the very cool, hot pink ceiling my mother selected and replace it with a safe shade of off-white. I documented the design process as if it was to be featured in a magazine, complete with before and after images and minimal text. With hindsight, the before pictures are far more interesting.

At secondary school, I was interested in all academic streams and deliberately took a subject in each faculty to avoid limiting my career options. Mum remembers me pinning a photo of an architect on my bedroom wall at a young age; however, I suspect this was just tear sheet from Vogue (or Dolly….) that featured a model dressed the way the magazine suggested rather than a portrait of Maggie Edmund.

When I left school, I wanted to combine my love for design, art and history. I completed a degree in Interior Design at RMIT before commencing my Architectural degree while working full time in a corporate design office.

It became obvious that Architecture would be the perfect balance of my interests; on reflection, I suspect it was predetermined and I was just unable to recognize it until I matured. I have been a late bloomer in most areas of my life.

Once I graduated I was keen to work for a firm that had a strong reputation for residential design. My formative position was in an intimate team of highly passionate people at Chris Connell Design (CCD). It was a sink or swim experience that introduced me to the joys and challenges of bespoke residential design. This is still what makes my heart beat.

While working for CCD I was offered my first commission – a beach house in the same town our family spent our childhood summer holidays. I couldn’t resist, I resigned from my position and began sketching on the kitchen table. That was nearly 15 years ago.

‘Merriwee’ in Toorak. Photography by Benjamin Hosking.

+ What is your main priority when starting projects? Is there something that is fundamental to your practice – your philosophy and your process?

We believe that spaces can make you feel, behave and think differently. Architecture is powerful and has the potential to influence a moment and a lifetime for the occupant and the wider community.

We consider the unique qualities of every site. We are preoccupied with proportion, light, colour and junction, but also have a respect for history and narrative. We listen to, embrace and challenge each client’s brief. Ultimately these considerations define our design outcomes. We are committed to creating timeless architecture through restraint, refinement and quality and typically find with residential architecture that it is the deep exploration of the pragmatic and mundane that informs spaces that can house beautiful moments.

Although we have a recognizable architectural language, we celebrate that no project, client or site is the same. We love the process of architecture, the challenges that it uncovers, the varied nature of the tasks involved and the joy found in delivering a quality project.

‘Matilda’ in Ruffy. Photography by Benjamin Hosking.

+ How is your studio structured? i.e. How many of you work in the studio, what types of skills do you have in-house, is there anything you are outsourcing, and how many projects do you handle at any one time?

Templeton is small studio comprising of both architects and interior designers. We are a highly passionate and motivated group that I love spending time with. Surrounding myself with a creative and supportive team that understands my value hierarchy has been worth the investment of time. We have had a very stable team over the years and I am fortunate to have had Sean Chambers, my associate, by my side for the best part of a decade. I cannot imagine doing what we do without him to challenge and inspire me.

As a studio we are acutely conscious of the trust our clients bestow on us and take the responsibility of their asset very seriously. Architecture, and in particular residential architecture, is intensely personal, often emotional and bound by financial realities. It is an exhilarating process for the client, architect and builder but it is never without some level of stress. We understand it to be part of our role to guide our clients through this roller coaster.

Fundamentally I am responsible for the design aspects of the projects and Sean and the team oversee the documentation and delivery. I have an intimate understanding of every project from design to occupancy and we deliberately limit our workload to ensure that this remains comfortable. We provide a very personal ‘hands-on’ approach tailored to the needs of the individual project.

We don’t outsource regularly in our office. However, we do rely on our network of consultants, craftsmen and builders to deliver projects to our quality specifications.

Currently we have 18 active projects, which is pretty typical. This is about the extent of my ability to multi-task. The projects vary in scale and are usually spread across various design stages, which assists programming the required tasks. Nevertheless, the construction industry is not always controllable and we found ourselves with seven projects due for hand over around Christmas – extremely exciting but suboptimal in terms of office sanity!

+ How do you organise and manage the competing demands of modern business and life? Do you have any tip or tricks you could share with us that help you in your day to day (i.e. software, online tools, shortcuts, task management, cheat sheets, advisors, anything!)

Work life balance continues to be an elusive goal. I am constantly trying to balance the passion I have for my work and my love for my family and friends. I want to do meaningful work while being an amazing mother and a supportive and loving partner while still finding time for my valued friendships. It is a daily but energizing struggle that mostly brings the best out in me although I possibly overcompensate by spoiling with my children when I am with them. I am aware that this may not be ideal in the long term.

To control my stress levels I rely on lists. I have many! I was recently introduced to ‘XMind’, which is an online task list program. I love filling it in, often with things I have already achieved and crossing them off…not sure this is the purpose but it is cathartic. Despite my endless lists and my natural desire for order, life is more organic than I would like. Motherhood has taught me to be more nimble and more forgiving in this regard.

As an office, we depend on ‘Harvest’ for timesheets and Xero for accounts, essential but not exciting.

To sleep I rely on wide varieties of podcasts to ensure my mind stops thinking about our projects. I regularly fall asleep with headphones in one ear. This is not a habit I would encourage as I am finding it difficult to break.

I am also fortunate to get away regularly to the northeast of Victoria to our weatherboard cottage outside Mansfield. The spatial qualities of the valley, the majestic mountain backdrop and the country air offer a unique clarity which I find difficult to describe yet I know it is essential to the spirit of the whole family.

In terms of finding more time, it helps to have found a partner that loves to cook!

+ Although you are now quite well established, the world of design and architecture is really competitive and it can be difficult to get a break. In retrospect, what do you consider to have been a turning point in your career? Has there been one project, one client, or an important set of skills you’ve developed that has changed the course of your career?

I don’t think there was one turning point; it has been commitment over a long period, a willingness to make and take any opportunities, passion, and dumb luck.

Early in my career I was introduced to a Sydney based client for whom we have now completed several projects. This client has become a great friend and a mentor when I need a business mind to refocus my often-romantic understanding of architectural practice.

Recently the same client sent me an exert from Gaston Bachelard’s influential book written nearly 60 years ago, The Poetics of Space. My client highlighted a section that he felt described the service we provide to him and his family. In the exert Bachelard contended that our minds thrive in spaces that allow us to daydream, and stagnates in spaces that are depressing or oppressive. Bachelard made the case that improving the ‘poetics of space’ not only stimulates us to think differently but to interact and engage with others more purposefully and thereby creates a more uplifting atmosphere. I read “The Poetics of Space” when I was at university and it was a special moment in my education. I’m proud to think that our work has developed to a point where we achieve environments of this kind for our clients.

Stand out projects include Victoria, which was one of our earlier projects and more recently projects like Little Pardon and Elissa demonstrated our versatility.

+ What do you feel is the most challenging part of being an architect today? And if you could change one thing about the industry, what would it be?

There are many challenges facing architects and the built environment, from sustainability to the commercial realities of bespoke design. However, the ubiquity of global culture is what is disturbing me currently.

I admit that I am an over-consumer of the internet. Things like Instagram make design so accessible for busy lives. However, with the pervasiveness of communication technology, where everything is one click away, space can too easily be reduced to a visually seductive 2D image. It can quickly lose the specifics of history, narratives of place, the particularities of occupation and the specifics of local culture. Ultimately the experience is unsatisfying and undermines the complexity, inventiveness and imagination of the designer.

Amidst a see of ‘eye candy’ in my inbox each morning, sites like Yellowtrace become so valuable. Yellowtrace provides a more complete picture with curated content, considered editorial and credits for designers and photographers. It also manages to keep a sense of humour and doesn’t become too self-important. It is a joy to read each day.

+ What are some of your methods to stay motivated, focused and expressive? And your top 3 main sources of inspiration and references you are drawn to regularly – i.e. books, magazines, websites/ blogs etc?

I don’t find it particularly difficult to stay motivated. I am happily competitive and believe a healthy competitive spirit is essential. Alex (my partner) laughs at my silent competition with my mother to create better birthday cakes for my boys than she produced when we were growing up. I am not winning that race but I still have time.

My focus is on staying fresh and original and this requires a wide variety of influences and, for me, some solitude. As family has made international travel more difficult I have had to concentrate on experiences closer to home. Fashion, art, film and books continue to be a large part of my design world but the most valuable experiences remain spatial. When I physically experience space and watch people interact within and around spaces I learn the most about what I do. I am increasingly conscious that I can do this anywhere from a playground to bush picnic.

Teaching at The University of Melbourne provides me contact with the next generation of architects. I find their enthusiasm, optimism and creativity intoxicating and I just love the ambience of campus life. It often has me considering post-grad.

I would like more time to travel, read and attend galleries, theatre and ballet. I know this time will come soon enough, however, currently I can only find short moments of indulgence within the daily routines of life. If I can manage an hour absorbing World of Interiors it’s a well planned day. Its layers of decadent beauty provide an escape while still being remotely related to what we do and love.

‘Long Lane’ in Mansfield, featuring Laminex Aquapanel in White used in the bathroom. Photography by Sharyn Cairns.

The idyllic setting of ‘Long Lane’ project in Mansfield. Photography by Sharyn Cairns.

+ Who or what are some of your influences? What other designers, peers and creatives in general do you admire?

So many and the list continues to grow. Growing up my mother was my creative influence. Mum designed the most insane children’s birthday parties for my brother and I, complete with crape paper costumes, theme-related party games and socialist outcomes for our guests. I remain famous for these events.

At University, I was fortunate to take studios under the guidance of Peter Corrigan and Sean Godsell; very different experiences but both hugely influential moments in my academic life and their teachings continue to infiltrate my thinking each day as I design and review our work.

Working under Chris Connell was truly inspirational. Chris is one of the most talented and naturally gifted designers in the country. Watching Chris draw is like theatre, I could sit and watch Chris fill blank paper for hours. However, the real genius is found in his ability to capture the sensory concept on paper and how the completed projects manage to retain the same energy.

When I first started my practice I shared an office with Nic Graham. Nic’s love of design influenced every aspect of his day. Nic’s keen eye, design rigour and his sense of humor is evident in his approach and his extraordinary work.

I also have an enduring love for Scandinavian, Belgium and Japanese designers, architects and artists. I love the use of light in Scandinavian design, the natural materials and complex colours in Belgium and the simplicity achieved by Japanese designers.

More recently I have focused my attention on other women in the industry to guide my development as an employer and as a designer. If I could rewrite my career I would design my experience to include more female role models for their unique insights and approach to business and design solutions.

‘Delatite’ in Mansfield. Photography by Sharyn Cairns.

+ What advice would you give to emerging designers who want to follow your path? What was one of your biggest lessons learned since starting your practice?

They say that anybody that fully understands the work involved in starting your own business would never do it. The footnote to this truth is that once you are up and running you will never look back. It is a joy and a privilege to run a creative business (even the bits I’m not good at, of which there are plenty) and I am grateful even on the tough days.

I would encourage any emerging designer to develop a strategy that allows them to set aside their natural desire for perfectionism and start producing. Listen to the feedback, self-assess, ask questions, adjust, re-focus and continue. You won’t get everything right every time but you have to be willing to keep learning.

The toughest lesson I have learnt since starting my practice is to say no or pass on things that don’t feel right. We now allow ourselves to be selective when it comes to taking on new projects. We have created strict criteria by which we assess new projects and if the project cannot assist us in steering the office in the right direction we gracefully decline. We do this in the best interests of ourselves and also the interests of the potential clients we decline, as we know we are not the right office for the particular project.

‘Victoria’ in Fitzroy. Photography by Sharyn Cairns.

+ What’s next – can you share with us your vision, some of your goals (and some of your current projects)?

We have several projects close to completion and some magical new projects ready to commence this year. The projects include compact inner-city transformations, contemporary new homes, country estates, hospitality projects and heritage restorations.

We intend to remain focused on bespoke residential architecture, as homes are my passion. However, we are also exploring some larger scale projects within the multi-residential, hospitality and hotel sectors.

We have a genuine desire to be part of the conversation around building better quality housing, especially focusing on smaller footprints. We are interested in clever designs that stand the test of time, improve the urban and rural landscape and enhance the quality of life for the occupants and community.

At home, I intend to commence work on two patchwork quilts constructed from my children’s baby clothes (inspired by artist Sonia Delaunay). In the meantime, William (4 yrs.) and I are making the biggest ever Duplo fire station, just out of Arthur’s (18 months) reach.

I have been known to quote a Russian proverb my best friend shared with me when we were studying, ‘I’m not so rich that I can afford cheap things’. My partner feels this is a convenient way to justify spending excessively, however, I know Lisa knew me better and realized that it reflected my desire for quality over quantity. I apply this philosophy to our work and my wardrobe.

I am also working on accepting some new rules. For a long time, I have been encouraging clients to celebrate the mapping of their lives on their marble bench or hard plaster walls, for example. Now it is my turn to “celebrate” as I try to accept ‘beautiful chaos’, including the indelible stains on the sofa courtesy of the children.

In the studio with Templeton Architecture.

Material boards.

+ Your most treasured belonging?

Time is easily my most treasured belonging. I feel guilty if I don’t use it productively, however, I sometimes mistake ‘productive’ for ‘not enjoyable’. I am working hard to carve out a little more time for enjoyable, meaningful moments, whether they relate to work, family or friends. It is not a skill I am good at.

I’m attached to many physical things too, mostly for nostalgic reasons. The things I love have a narrative attached to them, items that trigger a memory or a story. Sometimes this is because I tend to allow myself important purchase to celebrate moments. I purchased an amazing 20th century, Italian mirror from Geoffrey Hatty (Applied Arts) when I sold my first apartment and a painting when Collingwood won the grand final in 2010. I like beautiful things that are layered with significance. I have a strong memory of standing at the counter of an unnamed retailer contemplating the purchase of a dress I could barely resist when I received a phone call confirming my first commission. I still have the threadbare dress.

+ What’s one thing other people may not know about you?

I am actually terrible at keeping secrets and more inclined to overshare. As a result, people are more likely to know even the dullest details of my world; I suspect my studio (and my family) would prefer I kept more unknown.

+ It’s not very cool, but I really like…

I am horrifically passionate about football (AFL). My team’s success (Collingwood, particularly uncool) or failure has an unreasonable impact on my mood, composure (by that I mean language) and sense of well being. I adore the optimism felt by supporters at the start of each season, the life lessons that sport can teach (all in an afternoon), and the unexplainable joy of merely watching your team succeed while eating ‘yellow food’ in the stands and somehow feeling crucial to their success!

]]>http://www.yellowtrace.com.au/emma-templeton-architecture-interview/feed/4http://www.yellowtrace.com.au/emma-templeton-architecture-interview/Arflex Legacy: Artful Italian Design Knocking it Out of the Ballpark for 70 years.http://feedproxy.google.com/~r/yellowtraceblog/~3/uGJe989Tu2c/
http://www.yellowtrace.com.au/arflex-legacy-artful-italian-design/#respondMon, 12 Feb 2018 18:30:54 +0000http://www.yellowtrace.com.au/?p=100523Considering the fact Arflex celebrated its 70th birthday last year, these guys are clearly onto something. Sure, they keep nailing it with their lust-worthy, high-quality furniture, and razor sharp art direction, but many other brands know how to do this too. What Arflex understands better than most is the power of experimentation, capturing the imagination, and the execution of a total vision.

Arflex’s masterfully art-directed sets have become not only powerful presentation tools for new furniture models, but also spaces where objects are placed outside of their usual context. Settings designed to inspire and elevate the imagination of the end user. Yes, please!

Founded in 1947 in Milan, the founders of Arflex initially worked with a young local architect Marzo Zanuso who pioneered the experimental use of foam rubber and elastic tapes in the furniture market. It wasn’t until 1951 that Arflex was first unveiled to the public at the IX Triennale in Milan, after more than two years of experimentation.

Through the rich history of Arflex there have been many memorable moments that have shaped and defined the brand, although the early contact with a wider audience in the context of the avant-garde artistic event at Milan's Treinnale in 1951 positioned Arflex as a company with genuine experimental interest that lies separately to their commercial purposes.

With a rich catalogue of historical pieces that continue to be relevant today as they were the day they were designed, Arflex has focussed on bringing back many of their seductive vintage designs, like the Delfino, Elettra and Botolo Chairs, and Strips sofa, amongst others.

Most recently, Arflex has worked with Jaime Hayon on a significant new collection of seating and small tables. Hayon explored the classical geometry of the arch as a guiding principle, allowing him to arrive at a collection that feels more fluid and organic than most other modular systems on the market.

Arflex's unique combination of beautiful product and their commitment to experimentation has given the brand that hard-to-define X factor, which oozes out of everything they do. This is precisely why I will be making a beeline for their stand at Salone in Milan this year. And every other year for that matter.

In today’s competitive world of design, with so many amazing products by equally remarkable brands on offer, it’s becoming more and more difficult to stand out. And more importantly, to maintain an edge and market longevity.

The best way to experience the overwhelm of all the product currently on offer is to attend Milan’s colossal Salone del Mobile Furniture Fair, which brings thousands of brands under one (extremely large) roof. Yet each year I travel to Milan, there are only a handful of brands that consistently capture my imagination. Arflex remains at the top of the list as one such brand that not only manages to create something very special and memorable, their presentations – although not always the largest at the fair – have a knack for bringing forward something unique and fresh.

Sometimes their visions are challenging, but in the best possible way (for example, in 2016, their Milan stand heralded the return of ‘ugly colour’ in interiors, but done beautifully, of course, which in no way is an easy task.)

Arflex has always paid close attention to how the brand is presented in their showrooms and windows, design fairs, catalogues and ad campaigns. This medium has always been seen as an important bridge between the brand, its production, and the public.

Arflex’s masterfully art-directed sets have become not only powerful presentation tools for new furniture models, but also spaces where objects are placed outside of their usual context. Settings designed to inspire and elevate the imagination of the end user. Yes, please!

Hall Armchair by Roberto Menghi.

Pecorells Armchair by Cini Boer.

Botolo Armchair by Cini Boeri.

Botolo Armchair by Cini Boeri.

Founded in 1947 by Carlo Barassi (Pirelli engineer), Renato Teani (finance at Pirelli), Pio Reggiani and Aldo Bai, the foursome named their Milan-based company Ar-flex (flexible furniture), later rebranding as Arflex. They initially worked with a young local architect Marzo Zanuso who pioneered the experimental use of foam rubber and elastic tapes in the furniture market. It wasn’t until 1951 that Arflex was first unveiled to the public at the IX Triennale in Milan, after more than two years of experimentation.

Through the rich history of Arflex, there have been many memorable moments that have shaped and defined the brand, although this early contact with a wider audience in the context of the avant-garde artistic event at Treinnale in Milan was significant in the company’s history. It positioned Arflex as a company with genuine experimental interest that lied separately to their commercial purposes, demonstrating their will to create products that marry cutting-edge technology with sharp aesthetics, based on serious research and experimentation. Their efforts were recognised with a gold medal at the IX Triennale given to Lady armchair, in recognition of Arflex’s manufacturing philosophy.

Over the years, Arflex has worked with an impressive line-up of architects and designers who have contributed to the creation of an enviable portfolio of products, counting the likes of Claesson Koivisto Rune, Bernhardt&Vella, Luca Nichetto and Neri&Hu as their contemporary collaborators.

Unsurprisingly, the uptake of the design and specifier market has been incredibly strong for the brand, with Arflex products featuring in many notable projects around the world – from hospitality, retail, commercial to high-end residential.

Delfino Armchair by Erberto Carboni.

Marenco Sofa by Mario Marenco.

Strips Sofa by Cini Boeri.

Strips Sofa by Cini Boeri.

With a rich catalogues of historical pieces that continue to be relevant today as they were the day they were designed, Arflex has focussed on bringing back many of their seductive vintage designs, like the Delfino, Elettra and Botolo Chairs, and Strips sofa which celebrated its 50 years since its original release at the recent IMM Cologne 2018. Designed in the late 1960s by architect Cini Boeri, the modular sofa system revolutionised the furniture world, becoming one of the brand’s most famous products. Strips immediately won recognition at the Compasso d’Oro award and is exhibited in famous museums around the world, such as the Triennale in Milan, Triennale in Tokyo and Moma in New York, amongst others.

Arcolor Collection by Jaime Hayon for Arflex, launched in Milan at Salone del Mobile in 2017.

Most recently, Arflex has worked with the omnipresent Spanish designer, Jaime Hayon, on a significant new collection of seating and small tables. With most modular systems square in appearance for functional reasons, Hayon was keen to create a new typology of modular seating system. He explored the classical geometry of the arch as a guiding, allowing him to arrive at a collection that feels more fluid and organic.

Named Arcolor, the consistency of the arch also applies to the legs of the sofas and coffee table bases, with arches touching the ground. A strong coherence and rhythmic repetition of the form recalls the iconic Roman aqueduct, adapting equally well across various contexts, whether public or private, lobbies or living rooms.

With the Leafo lounger, Hayon set out to unite the concept of softness and lightness. As a result, this simple chair can be placed in spaces both large and small. Its special form is inspired by a leaf falling from a tree, becoming a symbol of comfort, rest and relaxation.

Arcolor Collection by Jaime Hayon for Arflex.

Arcolor Sofa & Leafo Armchair by Jaime Hayon for Arflex.

Arcolor Collection & Leafo Armchair by Jaime Hayon.

Leafo Armchair by Jaime Hayon.

Leafo Armchair Sketch by Jaime Hayon.

Considering the fact Arflex celebrated its 70th birthday last year, these guys are clearly onto something. Sure, they keep nailing it with their lust-worthy, high-quality furniture, and razor sharp art direction, but many other brands know how to do this too.

What Arflex understands better than most is the power of experimentation, capturing the imagination, and the execution of a total vision. This unique combination of elements has given the brand that hard-to-define X factor, which oozes out of everything Arflex does. This is precisely why I will be making a beeline for their stand at Salone in Milan this year. And every other year for that matter.

This Yellowtrace Promotion is proudly brought to you in partnership withArflex Australia. All related thoughts and ideas reflect our genuine opinion. Like everything we do at Yellowtrace, our sponsored content is carefully curated to maintain utmost relevance to our readers.